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The original horror classic Suspiria directed by Dario Argento is "truly is one of the absolute classics of the horror genre (RogerEbert.com's Peter Sobczynski)" and has a Metascore of 79.

Summary:A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe's artistic director (Tilda Swinton), an ambitious young dancer (Dakota Johnson), and a grieving psychotherapist (Lutz Ebersdorf). Some will succumb to the nightmare. Others will finally wake up.

2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on based on your knowledge of the original and, with2018's Suspiria manages to be both a faithful remake to the original and, it's own thing entirely. The film's color palate is in direct contrast to the original along with many other things. Suspiria expects you to understand what is going on based on your knowledge of the original and, with that in mind, it allows the movie to cut out a lot of the exposition and, dive straight into the heart of the insanity at the core of the film. Literally aspect of this film is fantastic and, to say more would to spoil the experience.…Expand

If you are a connoisseur of horror and love the subtler classics like Picnic at Hanging Rock and The Haunting of Hill House (1963 version), you will love the new Suspiria. It is macabre, subtle, historical, psychological – and beautifully directed by Luca Guadagnino and acted by a terrificIf you are a connoisseur of horror and love the subtler classics like Picnic at Hanging Rock and The Haunting of Hill House (1963 version), you will love the new Suspiria. It is macabre, subtle, historical, psychological – and beautifully directed by Luca Guadagnino and acted by a terrific cast that includes Tilda Swinton and Dakota Johnson. I can’t remember a film of any kind that kept me so constantly on edge throughout.…Expand

I must agree with Dario Argento, there is no music in Suspiria (2018). None that stands out that is. Thom Yorke's soundtrack is an unequivocal disappointment. Same goes for the lack of color. The drab greys of the setting don't lend themselves well to establishing any sort of style. ThereI must agree with Dario Argento, there is no music in Suspiria (2018). None that stands out that is. Thom Yorke's soundtrack is an unequivocal disappointment. Same goes for the lack of color. The drab greys of the setting don't lend themselves well to establishing any sort of style. There are attempts to capture some of the original's magic in this department, but they mostly amount to the occasional odd camera angles or movements that just come off as dated flourishes that feel out of place in what is otherwise a traditionally made modern horror movie.

While it's disappointing to see this remake/reimagining fall short in those areas, my enjoyment of the film ultimately wasn't hindered too much thanks to what an improvement it is narrative-wise. Looking back, the antagonists of the original Suspiria didn't actually seem to be doing much other than just existing. Only taking the time to kill someone if they happened to be stumbled upon. Here though, the coven has motives and recognizable faces. They're using the girls at the dance academy to reach twisted goals and it's a much more sinister movie as a result.

I like how they actually teach dance in this version. It was odd that it never played a role in the original. The performances don't seem all that well choreographed though. Dakota Johnson was great, but the other dancers around her paled in comparison do to their roles in the routines being nowhere near as complex and feeling oddly disconnected from the whole. However, each display is erotic and disturbing enough to remain memorable.

Luca Guadagnino matches Argento's ability to create horrific death sequences. The first major kill in the movie is one of the most violent and hard to watch acts of brutality I've ever witnessed, and I'm something of a glutton for gore and mangled bodies. The extremely bloody conclusion is a little over the top, but is the kind of slaughter any fan of Italian horror cinema will love. The R rating is well earned. Expect gratuitous (yet non-sexualized) nudity and disgusting sights galore.

2018's Suspiria ultimately doesn't hold a candle to the 1977 classic. Stylistic deficiencies aside, the biggest issue with it is that it's so slow moving. It's quite a chatty little film, and one where the conversations don't mean as much as Guadagnino would like us to believe. Yet, it delivers so much memorable, grotesque, and macabre imagery that it's worth watching regardless.

This review contains spoilers, click expand to view.
This was a disappointment.

The Good:

-Dakota Johnson's dancing (and acting in first two acts)-Two imaginative dream sequences-The setting-Literally backwards cinematography finally hits its stride in second act as it veers into voyeuristic territory, but is consistently an antogonistic character of its own (arc included) which can be interesting (when not distracting and overt) to observe-Witchy stuff is generally handled pretty well-Entire cast of witches and dancers were expertly chosen-Very nice cameo by the original Susie actress-Tilda Swinton as Madame Blanc rules-Mad decent eroticism-Clarifies the connection between dance and witchcraft solidly-One scary sequence-Absurdities of story / script sometimes played for dark laughs-Good job, Thom Yorke

The Bad:

-Atrocious exposition writing. Expect wooden, forced telling instead of showing. Writing in Act 3 is particularly embarrassing.-Dakota Johnson's acting in Act 3 (blaming the writer)-Tilda Swinton cast as major psychologist character extremely distracting and forced (begs for post-processing on her voice, and if Guy Pearce bugged you in Prometheus this will too)-Tilda Swinton as rubberized Helena Markos recalls the 90's Island of Doctor Moreau disaster-Chloe Grace Moretz was thrown under the bus by this production-Contains some of the worst dialogue ever committed to film-Returns repeatedly to America like we give a f***-Unnecessary back stories and side stories take over entire film by the end-Tacked on, sophomoric social message grates on nerves like a Rupi Karr poem-Tacked on twists ring flat, hollow-Makes you feel embarrassed for Thom Yorke - even he can't redeem this climax, but you finally get why he was asked-Historical context is blunt, forced, and distracting-Symbolism is weak, sophomoric-Repeated stench of amateurism-Gruesome horror action scenes lack geography, horror, and effects budget necessary-Hijacks Argento storyline to desperately tack on another, much worse drama story, alienating core audience ( Imagine if a Gremlins remake turned into Schindler's-List-meets-Munich and you're close )

Overall: A bold attempt of ambition and a triumph of setting, but a disaster of execution, world-building, and consistency. Strong dancing, setting, scenario, cast, and acting keep you from asking for your money back afterwards in an otherwise bottom-of-the-barrel B-movie on the level of Jupiter Ascending but without the redeeming camp factor. One scene was horror, and was therefore pretty neat!

Luca has a knack for interpersonal Drama but should be *banned* from Horror for life…Expand